A young and impatient stockbroker is willing to do anything to get to the top, including trading on illegal inside information taken through a ruthless and greedy corporate raider who takes the youth under his wing.
A story about a troubled boy growing up in England, set in 1983. He comes across a few skinheads on his way home from school, after a fight. They become his new best friends even like family. Based on experiences of director Shane Meadows.
Chief Aiello wears Captains insignia, not police chiefs rank. See more »
[In 1933, two goons rudely question a young woman]
Where is he? Where's he hiding?
I don't know... I've been looking for him since yesterday.
[second goon slaps her harshly; she falls onto the bed]
I'm gonna ask you for the last time: Where is he?
I don't know... What are you gonna do to him?
[Two shots are heard]
[to his partner]
Stay here in case that rat shows up...
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For his cameo, Joey Faye is listed in the credits as playing the "adorable old man." See more »
Sergio Leone's films are all love letters to America, the American dreams of an Italian who grew up at the movies, who apprenticed with Wyler, and Aldrich, signed himself Bob Robertson, and gave us Clint Eastwood, Lee Van Cleef, Charles Bronson as we know them. Sadly, America didn't always repay the compliment. Leone's were "spaghetti westerns", money makers to be sure, but deemed disrespectful of the great tradition of Ford, Walsh and Hathaway. Many critics and Holllywood insiders called his earlier Eastwood films cynical and violent bottom-line commercial exploitation. By the time that they caught on to Leone's genuine popular appeal, the director had already moved on. And, his Once Upon a Time in the West was damned as pretentious, bloated, self-indulgent: an art film disguised as a Western, the Heaven's Gate of its day. That film's canny blend of pop appeal and pure cinematic genius gradually dawned on the powers that be (or were), and helped give rise to the renaissance of American filmmaking in the early seventies. It is worth noting that The Godfather could have been made by Leone, had he chosen. Leone had been pitching a gangster film that would encompass generations, for a generation or two, himself. Rather than do the Puzo version finally thrown back at him, he waited an eternity, and finally realized this, his last finished project. That ellipse of a decade or so between conception and completed movie is paralleled in the film, itself, by Robert De Niro's ("Noodles'") opium dream of the American twentieth century, its promises, and betrayals. Naturally, Leone was betrayed, once again, himself, by America, and this truly amazing film, with its densely multi-layered, overlapping flashback structure was butchered upon its release, becoming a linear-plotted sub-Godfather knockoff in the process. Luckily, the critics had grown up enough in the meantime to finally get a glimmering of what Leone was up to, and demand restitution. Very few saw it properly in theaters, but the video version respects the director's intentions, more or less. Ironically, Leone had foreseen television screen aspect ratios as determining home viewing of the future, and abbreviated his usual wide screen format for this movie, so this most troubled last project was the first released on video to most properly resemble the true cinematic experience. For diehard fans of the Eastwood westerns impatient with this at first, watch those movies till you want and need more. This will eventually get to you. For art film fanatics who don't get the earlier Leones, travel in the reverse direction, and you will be pleasantly surprised. This is the movie that Leone spent a decade conceiving. It will deliver for decades of viewing to come.
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